While focusing on Greece and North Macedonia, I will argue that the hegemony of authorized heritage discourse reveals the dominance of Hellenophilia, which has been continuously reinforced since the ...nineteenth century by archaeological discoveries of the ancient Greeks. The heritage narratives around the Warrior Hero statue in Skopje (2011) and the New Acropolis Museum in Athens (2009) glorify the ancient past and exclude other historical periods and cultural/ethnic influences, which creates a pregnant imaginary for Eurocentrism, while the hegemony of heritage sites is being harnessed for political agendas. Contrary to that, a celebration of shared civilizational heritage is being forged around imaginings of a glorious antiquity of East and West conjoined by the new Silk Road, specifically between China and Greece, emphasizing it via archaeology, heritage sites, and museums related to the Silk Road. This article is an attempt to demystify the domineering force of Eurocentric heritage studies and practice that suppress multi-cultural views, and ask whether heritage narratives constructed around the new Silk Road’s identity and shared past that look beyond borders can rebuild a dialogue of transnational heritage.
Dobar dio autora i teoretičara koji se bave baštinom i memorijom tvrdi da je organizirani zaborav u velikoj mjeri prisutan u društvu, pa bismo, shodno tomu, mogli zaključiti da svako društvo svjesno ...zaboravlja. Nositelji ili izvršitelji projekta zaborava često nastoje izbrisati čitavo sjećanje „neprijatelja” destrukcijom baštine čime se želi prisiliti one koji ih baštine i čuvaju da ih zaborave. U ovom članku nastojat ću uputiti na to da povijesni artefakti sačinjavaju dio procesa društvenog zaborava što ujedno otvara i sljedeće pitanje-temu: može li se povijest konstruirati i rekonstruirati iz povijesti amnezije, a ne povijesti memorije? Proces „suočavanja s gubitkom, tj. destrukcijom” u baštinskoj je praksi i politici još uvijek u povojima i češće se odnosi na priznavanje problema nego na sam odgovor na problem. Paradigma spasitelja koja prožima baštinski diskurs je fundamentalno utemeljena na sustavu koji podjednako implicira žrtvovanje i gubitak manje vrijednih kulturnih ostvarenja nasuprot zaštiti i konzervaciji više vrijednih ostvarenja. Ova pitanja i dileme su fundamentalno politički i svode se na odluku: koje priče/objekte očuvati, slaviti i zapamtiti, a koje zaboraviti? Objašnjavajući pojmove destrukcije i zaborava na primjerima porušenog Zadra, splitskog Peristila, Starog mosta u Mostaru i, naposljetku, antifašističkih spomenika, pokušala sam uputiti i utvrditi da i mjesta odsutnosti mogu biti mjestima memorije, te da je baština po svojoj prirodi performativna. Povijesne građevine, naime, nisu same po sebi inherentno smislene i bitne, već postaju važne samo onda kad su društveno konstruirane kroz performativni čin.
'Man is Space: Vitić Dances' is a multiyear community art project in a 10-storey condominium building in Zagreb, Croatia. Built by the architect Ivo Vitić, the building, considered a masterpiece of ...modern architecture, and registered as a national monument is now in a deteriorated state that threatens the lives of its 256 inhabitants. The project started in 2003 when Croatian artist Boris Bakal (Shadow Casters) moved into the building and became deeply acquainted with its history, its tenants and their everyday hardship. The artist aimed to raise the awareness of the tenants and local community to restore this iconic building though a complex interdisciplinary endeavor that combined permanent artistic and social interventions and programs, in and around the building. This 'artivism' project re-created and socialized a commonly shared space through intensive artistic presence by unifying tenants to collaborate for its preservation. It allows us to move away from a notion of the building as a whole to a notion of the building as multiplicity, from the study of the urban neighborhood to the study of urban choreographies of architecture. Vitić Dances has also secured funds for the restoration of the building's facade and for the recording of a documentary film about this project and the building. Indeed, restoration started in February 2016 and will constitute a major investment, funded in part by the City of Zagreb, in residential housing in Croatia.
The aim of this article is to inquire into global imaginings of the possibilities for the future of the Mediterranean region, i.e. its current and future reconceptualization through political economy ...of connectivity through the Maritime Silk Road (MRS) as part of the OBOR.1 OBOR promises to mediate exchange over distance and bring different people and objects into interaction through its infrastructure. The question is whether OBOR will replace the present politics of domination by the diplomacy of communication, interaction, negotiation, and conversation, where dialogue of civilizations is based on tolerance, recognition, respect, mutual reference, and mutual learning. The article argues that the reconceptualization of the Mediterranean from its current, stereotyped image of the ancient past towards a modern paradigm largely depends on contrasted geopolitical dynanmics of this region.
'Man is Space: Vitic Dances' is a multiyear community art project in a 10-storey condominium building in Zagreb, Croatia. Built by the architect Ivo Vitic, the building, considered a masterpiece of ...modern architecture, and registered as a national monument is now in a deteriorated state that threatens the lives of its 256 inhabitants. The project started in 2003 when Croatian artist Boris Bakal (Shadow Casters) moved into the building and became deeply acquainted with its history, its tenants and their everyday hardship. The artist aimed to raise the awareness of the tenants and local community to restore this iconic building though a complex interdisciplinary endeavor that combined permanent artistic and social interventions and programs, in and around the building. This 'artivism' project re-created and socialized a commonly shared space through intensive artistic presence by unifying tenants to collaborate for its preservation. It allows us to move away from a notion of the building as a whole to a notion of the building as multiplicity, from the study of the urban neighborhood to the study of urban choreographies of architecture. Vitic Dances has also secured funds for the restoration of the building's facade and for the recording of a documentary film about this project and the building. Indeed, restoration started in February 2016 and will constitute a major investment, funded in part by the City of Zagreb, in residential housing in Croatia.
Vila Naprstek, djelo Nikole Dobrovića, sagrađena u duhu moderne, interpretacija je ladanjske arhitekture na suvremen način. Izgradnjom jadranske magistrale neposredno uz vilu, i u graditeljskoj ...euforiji proteklih desetljeća izrasla je bezimena arhitektura poništavajući integraciju vile s pejsažem - presudni dio njezina ambijenta, neizostavan u ideji ladanja. Današnja slika je odraz našeg društva i njegove prostorne etičnosti grubo materijalizirane u kaotičnoj transformaciji prostora.
Budući da je grad projekcija konfliktnih društvenih odnosa, javni prostor ne može biti ni neutralan ni apolitičan, već duboko prisutan u svakom mogućem izboru između javnog ili privatnog, društvenog ...ili egoističnog, otvorenog i pristupačnog ili reprezentativnog i otuđenog, živog i raznovrsnog urbanog života ili poniznog i samo-zadovoljavajućeg egzistiranja.
No, da li i u kojoj mjeri nove, urbane prakse u javnom prostoru pomažu pri stvaranju novog tipa grada, i kako bi taj grad izgledao? U kontekstu „eksperimentalnih utopija“ pitanje se može postaviti i na sljedeći način: postoje li ili mogu li postojati zajedničke politike o gradu koje povezuju urbane prakse? Stvaranje politike koja povezuje ove prakse podjednako je pitanje prisvajanja i političkog subjektivizma, unutar kojeg praktičari izražavaju svoje neslaganje s formama upravljanja koje proizvode urbani prostor. Takva politika može se provoditi jedino na način da sudionici pronađu moduse međusobnog povezivanja, usprkos njihovoj različitosti. Pravo na grad je kreiranje „gradova unutar grada“, pri čemu se podjednako iskazuju nove forme upravljanja (temeljene na jednakosti stanovnika grada), kao i traženja načina za ublažavanje neslaganja između ovih natjecateljskih formi upravljanja. Dio toga politizirajućeg procesa mora uključiti dijeljenje i refleksiju vlastitih iskustava, koja će postati javne platforme na kojima se može izraziti neslaganje s postojećim formama urbanog upravljanja i njihovim „pravima na upravljanje“.
Lovro Perkovic from Split belongs to the middle generation of Croatian architects who managed to successfully bring together modernity and tradition, to appreciate function in architecture, but also ...to express sensibility to historical and natural contexts. By remaining strongly attached to the Mediterranean tradition, Perkovic promoted regionalism and contextualization by creating valuable works of Croatian modern architecture which make an original contribution to our cultural, artistic and architectural space. MEDITERRANEAN ARCHITECTURE PERKOVIC, LOVRO REGIONALISM CONTEMPORARINESS TRADITION Splitski arhitekt Lovro Perkovic pripada generaciji hrvatskih arhitekata rodenih oko 1910. kojemu je uspjelo kvalitetno pomiriti modernitet i tradiciju, tj. istovremeno slaviti funkciju u arhitekturi, ali i senzibilitet izrazen prema povijesnom i prirodnom kontekstu. Sacuvavsi cvrstu sponu s tradicijom Mediterana, Perkovic je promovirao temu regionalizma i kontekstualizma, ostvarivsi vrijedna djela hrvatske moderne arhitekture koja su originalan doprinos nasemu kulturnom, umjetnickom i graditeljskom prostoru. MEDITERANSKO GRADITELJSTVO PERKOVIC, LOVRO REGIONALIZAM SUVREMENOST TRADICIJA
PDF
